DOCSLIB.ORG

Freecd! 15SOFTROCK ANTHEMS! SCISSORSISTERS It'sadiscoinferno 1 MEAT LOAF BAT out of Hell (Cleveland/Epic, 1977) the Sound of the Rock'n'roll Apocalypse

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Freecd! 15SOFTROCK ANTHEMS! SCISSORSISTERS It'sadiscoinferno 1 MEAT LOAF BAT out of Hell (Cleveland/Epic, 1977) the Sound of the Rock'n'roll Apocalypse fREECD! 15SOFTROCK ANTHEMS! SCISSORSISTERS It'sADiscoInferno 1 MEAT LOAF BAT OUT OF HEll (Cleveland/Epic, 1977) The sound of the rock'n'roll apocalypse. One ofthe greatest albums ever made. Obviously. Jim Steinman wrote epic, funny, lengthy songs where teenagers tried to lose their virginity,where girls were slim and devious and boys tubby and stupid, where the motorbike was an analogy for everything and, to quote a future Steinman moment of genius, "where everything was louder than everything else". Brilliantly, the distinctly rotund Meat Loaf sang the whole lot without irony, while Steinman and producer Todd Rundgren fashioned a widescreen, Wagnerian backdrop. Somehow, the whole was even mightier than its already heaving parts, hence the 10-minute title track where a man watches himself die; For Crying Out Loud, perhaps the most full-on, gut-wrenching ballad ever recorded and the sheer, onanistic frustration of All Rewed Up With No Place To Go. There was nothing like it in 1977. There has been nothing like it since, Bat Out Of Hell II notwithstanding. Staggering. KEYTRACK: Bat Out Of Hell SEE ALSO: Meat Loaf, Bat Out Of Hell II:BackInto Hell(Virgin,1993) ~~'~~~Sl- - -- ., Meat Loaf- "a hotheadkidfromTexas" - and songwriter Jim Steinman first met in NewYorktheatreland in 1972. Their experiments in fusing classical bombast with rock'n'roll would eventually produce one ofthe best-loved albums in history. Meat Loaf: Evenat schooland on thefootball team, everyone called me Meat. 1put together a band, Popcorn Blizzard, moved to Los Angeles, cut a first record, which did nothing, made an album [Stoney & Meat Loaf], which 1didn't like, and ended up in the stage musical Hair. By 1972 1was in New York doing all these Broadway-type shows. One of them was a two-act musical play called More Than You Deserve, which was written byJim Steinman. Jim would come out in these crazy outfits, pound the piano and do stuff that was II \'.'111:11~",'j ,,':1:1 :II":I~ totally out there. Jim Steinman: Growing up, 1was into classical music. Then, one day, aged 12,1 heard Wagner's The Ring Of The Nibelung followed byJerry Lee Lewis. 1just went, "Wow! These things go together!" 1went to New York where 1tried to write musicals. Meat walked into r an audition for More Than You Deserve and sang a gospel song. His hands convulsed and his eyeswent up in his head. 1thought, [I "This is the guy!" The fact that he was 350lb was part of it. He was like something out of a Marvel comic book. ML:Jim and 1began working together, but by '74, we started to get serious. 1decided 1wasn't going to do any more theatre. Then 1got asked to understudy John Belushi in The National Lampoon Show on Broadway. When they said they were taking the show on the road, 1agreed to do it only if they took Jim as the piano player. Ellen Foley was singing in the show, and we started to duet on one ofJim's songs, Paradise ByThe Dashboard Light. The three of us worked on those songs, and out of them came the fantastic characters of Bat Out Of Hell. JS: It was amazingly out-of-step for the time. But 1wanted our records to be like movies. 1wanted Bat Out Of Hell to be like entering a film. \ ML:Weauditionedfor,like,18record , companies and got turned down by everybody ~~.j " " and their mother. We kept being asked, , ~ "Who's going to listen to all this long crap?" , JS: We didn't have a demo tape. We just had me at the piano and Meat singing. 1remember .~ we auditioned for [Arista Records'] Clive Davis in a tiny office.There 1am pounding the piano with my hands bleeding and Meat :~ sweating like a maniac! Clive Davis didn't get it. Sometimes we'd have two backing singers, .... '" Ellen Foley and Rory Dodd, with Meat French-kissing Ellen during Paradise By The Dashboard Light - making out like Beauty And The Beast in this tiny office. Nobody understood. ML:As we'd walk down Sixth Avenue after these meetings, I'd rage at Jim. These fucking record company guys are so set in their ways... Jim would just laugh. ~ JS: 1didn't care, because I'm always convinced WI 1don't know what I'm doing. I'm the first one .. .. to thinkI'm a pieceofshit[laughs].Producers !8l, , .. ' wouldn't touch us either. Finally,though, we got hold of Todd Rundgren. He was the only one brave enough to take us on. He'd heard """ Meat and me do the songs on the piano, >< Meat Loaf meets but he was the only one to turn around and say, >meat truck, 1978. "1seeno problem here." -t I QI83 liliiii [now the Apollo] in London, then Manchester, a Steinman solo record in 1981- and it nearly while releasing albums intermittently and then the Old Grey Whistle Test TV show. killed me, because it was all written for a voice throughout the rest of the decade; none Bob Harris: We first showed the video to Bat that was about an octave higher. As for Meat, of which came close to matching the Out Of Hell and the reaction was incredible. Jon Landau, Springsteen's manager, suggested success of Bat Out Of Hell. Steinman It was a love-it-or-hate-it record, but we were this guy in California, who was like a sort of began producing and writing for MOR struck by the sheer gothic, over-the-top witch doctor. The guy's treatment is he injects artists, including Bonnie Tyler and Air splendour of the thing. They came to the you with your own urine and then beats the Supply. Then came a chance meeting. studio and did Paradise ByThe Dashboard shit out of you. ML:I ran into Jim at the end of 1985 at the Light, and the intensity of the performance and ML:His theory was I had become traumatised Power Station studio in New York. He goes, all this sexual energy between Meat and Karla when I fell off the stage and broke my legin "You're singing good. Why don't you come DeVito was mind-blowing. Meeting the man '78, and this was the reason I couldn't sing. His out to the house?" up-close, though, he looked awful- sweaty, therapy consisted of having me lie down on the JS: I remember it well, because it was the day puffy, pale-faced. I heard he had to be given floor and sing notes while he vibrated a Black my mother died. He sang the entire Bat Out Of oxygen after one of the shows. & Decker hand sander Hell album at the piano with me. He sounded ML:Then Melody Maker came out with a two- with a sheepskin pad great - and that was the key to Bat Out Of Hell page live review, calling us "the worst band in on it against my leg- Who'sWho? 2. It was always really about the voice. the world" under the headline "Fat Out Of and it worked! In 1980, MEATLOAF ML:The record company didn't actually Hell"! At first I was seriously pissed off. Then I began work on a new 'ir;);..,;;,rOl9Jii'~~ want Bat Out Of Hell 2, because they thought we went back to New York and did a show album, Dead Ringer. ~i,I!I!J.';ll\Tj1.lr/J\~I\(~ it would cost too much money. So it didn't ~1:ttEIII~m;l~iT;J in Central Park, and there were press from all Steinman wasn't 1ffi1~~ happen until 1993. Did I ever imagine there'd over the world. There was one guy there from involved, other than be a Bat Out Of Hell 3 [currently due for JIM STEINMAN releasein October 2006]? God, no! But India and I asked him, "Why are you here?" writing the songs and ~I~p He said, "Melody Maker... 'worst band handing them to us. §Ii]~fJfilljj!~~ Jim has no involvement other than we have in the world'." That's when I realised it was JS: It was a stupid set- I!!Ijj~llli'r!!n,,)[email protected] seven or eight of his songs on the record. working for us. up because Bad For lII'Ell!ti 1J1i)m;J.. [Sincebeing interviewed for this article, JS: I toured with the band until late spring '78, Good came out and TODD RUNDGREN Steinman, who holds the copyright to the and I went back home only to write the second then Meat Loaf's 1P!JliIlJ!1j~J3lI~Fl1T'];\IIOl~OJ\, phrase Bat Out Of Hell, has refused to allow record. One moment, we were just having fun second album, Dead §.!Ji[r1'~~~~~ Meat Loaf to use the title for the record. playing the music, then all of a sudden, it's all Ringer, came out two STEVEPOPOVICH In May, Meat Loaf filed a lawsuit against his about record deals and delivering more songs. months later. Crazy! ~'m~OOifai1l!t ex-partner in response.] OOE~~I JS: I love Meat Loaf as a performer. He has I wrote Bad For Good, which was supposed to nm~1lliThfi IDN1l be the follow-up to Bat Out Of Hell, but Meat By 1983, the winning @[,,\(ojl>lndl~ that sense of the Gothic and the ridiculous. couldn't sing it. Meat had abused his voice partnership had 1rn~i@J;i'V" And that's a huge part of what Bat Out Of Hell on the road and by the end of the Bat..
Load more

Recommended publications
  • Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
    Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b.
    [Show full text]
  • Record-Mirror-1978-1
    Record Mora, December 2. 1978 Alice inside out rr ALICE COOPER: 'From The Inside' (Warner Brothers K5677) t , t- THE BAT out of hell has clipped his wings, thrown sz away his last bottle of 1 booze and vowed never to be nAughty again. s Alice was In danger of A heading for that great boogie house In the sky, after years of pickling his Si liver with alcohol. But he pulled back and went on a cure. This album Is a loose a. concept of his reflections . and hospital experiences. t Apocalyptic tracks, , -k heavy with thunderous , II guitar and keyboards. The title track is a panoramic view of being on the road and how the booze troubles started. Imagine 'School's Out' meeting a quality disco track and you'll get the 'idea of how the song on the wagon sounds. ALICE COOPER: Alice now works many assorted seventies Highlights are the primarily with Bernie albums Rundgren has cocktail - piano intro to Taupin, who hasn't lost cleverly fused mid -sixties 'never Never Land' and his talent for incisive idyllic American emotional 'The Verb To lyrics. 'The Quiet Room' melodies with various Love' but 'Hello It's Me' Is full of opposing forms of heavy - rock. comes off best with Its parallels between soul; jazz, Eastern In- archetypal chorus thoughts of home and trigue and even modern utilising the vocal talents frustration about being Instrumental pieces akin of Hall and Oates, Stevie n M locked in a padded cell. to Debussy to create a Nicks (when she's not But Cooper isn't going complete 'pop - sound with her group she's to forget about his early encyclopaedia', and alright) and Rick "weirdo" Image.
    [Show full text]
  • The Inventory of the Richard Roud Collection #1117
    The Inventory of the Richard Roud Collection #1117 Howard Gotlieb Archival Research Center ROOD, RICHARD #1117 September 1989 - June 1997 Biography: Richard Roud ( 1929-1989), as director of both the New York and London Film Festivals, was responsible for both discovering and introducing to a wider audience many of the important directors of the latter half th of the 20 - century (many of whom he knew personally) including Bernardo Bertolucci, Robert Bresson, Luis Buiiuel, R.W. Fassbinder, Jean-Luc Godard, Werner Herzog, Terry Malick, Ermanno Ohni, Jacques Rivette and Martin Scorsese. He was an author of books on Jean-Marie Straub, Jean-Luc Godard, Max Ophuls, and Henri Langlois, as well as the editor of CINEMA: A CRITICAL DICTIONARY. In addition, Mr. Roud wrote extensive criticism on film, the theater and other visual arts for The Manchester Guardian and Sight and Sound and was an occasional contributor to many other publications. At his death he was working on an authorized biography of Fran9ois Truffaut and a book on New Wave film. Richard Roud was a Fulbright recipient and a Chevalier in the Legion of Honor. Scope and contents: The Roud Collection (9 Paige boxes, 2 Manuscript boxes and 3 Packages) consists primarily of book research, articles by RR and printed matter related to the New York Film Festival and prominent directors. Material on Jean-Luc Godard, Francois Truffaut and Henri Langlois is particularly extensive. Though considerably smaller, the Correspondence file contains personal letters from many important directors (see List ofNotable Correspondents). The Photographs file contains an eclectic group of movie stills.
    [Show full text]
  • The History of Rock Music: 1970-1975
    The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality.
    [Show full text]
  • SOME KIND of WAY out by BARBARA GORMAN A
    SOME KIND OF WAY OUT by BARBARA GORMAN A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Fine Arts Graduate Program in Creative Writing written under the direction of Prof. Lauren Grodstein and approved by ______________________________ Prof. Lauren Grodstein Camden, New Jersey October 2013 i THESIS ABSTRACT SOME KIND OF WAY OUT By BARBARA GORMAN Thesis Director: Prof. Lauren Grodstein Sixteen-year-old classic rock and blues guitar aficionado Drew Gilmore and his fourteen- year-old sister Cori have been helping their divorced mother Michelle cope with her advanced multiple sclerosis for the past two years to the best of their ability, but the severe sensory pain and uncontrollable muscle spasms have left Michelle, a former grocery store cashier, confined to a wheelchair most days and unable to sleep most nights. A concerned social worker and a few school staff members have begun to question whether Drew and Cori’s needs are being met at home. Drew is resistant and at times hostile toward any suggestions that Michelle may be unable to take care of them, insisting that he and Cori have plenty of help from family and friends in their working class neighborhood of Gloucester City, New Jersey, and that their father Frank, a prison guard who lives in Trenton, New Jersey, with his new wife and toddler son, does the grocery shopping and takes care of the bills. But Drew knows that things at home are far from okay, forcing things at school to a breaking point.
    [Show full text]
  • Ars Pro Concreta
    A Proposal for Staging By Gibson DelGiudice Concreta Pro Ars Copyright © August 30, 2016 1 I. ARTIST STATEMENT Based on the 1961 Richard Attenborough-produced film and the novel by Mary Hayley Bell, Whistle Down the Wind is a thoughtful study of childhood innocence and simple faith contrasted with adult cynicism. In brief, the plot follows the fortunes of a mysterious man caught between the prejudice of adults and the innocence of the young. When this stranger takes refuge in a barn on a remote farm, its owner’s three children (Swallow, Brat, and Poor Baby, in the novel and the musical; they’re renamed in the film), who’ve recently lost their mother, mistakenly believe him to be the Second Coming of Christ, and they vow to protect the stranger from the world that waits outside – the townspeople who are determined to catch a fugitive hiding in their midst. The original was set in Lancashire, England, but for the musical, composer Andrew Lloyd Webber and lyricist Jim Steinman, together with Patricia Knop and Gale Edwards (co-book writers with Webber), reset the original story in America’s deep South (specifically, Louisiana) in 1959, causing the musical’s story-line to revolve in part around the time and place where the word “teenager” was invented. They also aged the oldest daughter, Swallow, up to 15, to be able to play with a “coming of age” angle where, as fantasy and reality collide, Swallow is torn between the two and begins to discover who she is and where she is going.
    [Show full text]
  • Meat Loaf Bat out of Hell Mp3, Flac, Wma
    Meat Loaf Bat Out Of Hell mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Bat Out Of Hell Country: Canada Style: Pop Rock MP3 version RAR size: 1467 mb FLAC version RAR size: 1973 mb WMA version RAR size: 1973 mb Rating: 4.5 Votes: 581 Other Formats: VOX XM RA MMF AAC TTA ADX Tracklist A1 Bat Out Of Hell 9:48 A2 You Took The Words Right Out Of My Mouth (Hot Summer Night) 5:04 A3 Heaven Can Wait 4:38 A4 All Revved Up With No Place To Go 4:19 B1 Two Out Of Three Ain't Bad 5:23 Paradise By The Dash (8:28) Board Light B2-I Paradise B2-II Let Me Sleep On It B2-III Praying For The End Of Time B3 For Crying Out Loud 8:45 Companies, etc. Manufactured By – Epic Records Manufactured By – CBS Inc. Phonographic Copyright (p) – CBS Inc. Copyright (c) – CBS Inc. Published By – Edward B. Marks Music Corporation Published By – Neverland Music Co. Published By – Peg Music Co. Recorded At – Bearsville Studios Recorded At – Utopia Sound Recorded At – The Hit Factory Recorded At – House Of Music, West Orange, NJ Mastered At – The Cutting Room Pressed By – Columbia Records Pressing Plant, Terre Haute Credits Arranged By – Gene Orloff, Jim Steinman, Steve Margoshes Backing Vocals – Ellen Foley, Kasim Sultan*, Rory Dodd, Todd Rundgren Bass – Kasim Sultan* Cover – Jim Steinman Design – Ed Lee Drums – John Wilcox, Max Weinberg Effects – Jim Steinman Engineer – Cliff Hodsdon Guitar – Todd Rundgren Guitar [Motorcycle Guitar] – Todd Rundgren Illustration – Richard Corben Keyboards – Jim Steinman, Roy Bittan, Todd Rundgren Mastered By – Joe Brescio Music
    [Show full text]
  • De Classic Album Collection
    DE CLASSIC ALBUM COLLECTION EDITIE 2013 Album 1 U2 ‐ The Joshua Tree 2 Michael Jackson ‐ Thriller 3 Dire Straits ‐ Brothers in arms 4 Bruce Springsteen ‐ Born in the USA 5 Fleetwood Mac ‐ Rumours 6 Bryan Adams ‐ Reckless 7 Pink Floyd ‐ Dark side of the moon 8 Eagles ‐ Hotel California 9 Adele ‐ 21 10 Beatles ‐ Sgt. Pepper's Lonely Hearts Club Band 11 Prince ‐ Purple Rain 12 Paul Simon ‐ Graceland 13 Meat Loaf ‐ Bat out of hell 14 Coldplay ‐ A rush of blood to the head 15 U2 ‐ The unforgetable Fire 16 Queen ‐ A night at the opera 17 Madonna ‐ Like a prayer 18 Simple Minds ‐ New gold dream (81‐82‐83‐84) 19 Pink Floyd ‐ The wall 20 R.E.M. ‐ Automatic for the people 21 Rolling Stones ‐ Beggar's Banquet 22 Michael Jackson ‐ Bad 23 Police ‐ Outlandos d'Amour 24 Tina Turner ‐ Private dancer 25 Beatles ‐ Beatles (White album) 26 David Bowie ‐ Let's dance 27 Simply Red ‐ Picture Book 28 Nirvana ‐ Nevermind 29 Simon & Garfunkel ‐ Bridge over troubled water 30 Beach Boys ‐ Pet Sounds 31 George Michael ‐ Faith 32 Phil Collins ‐ Face Value 33 Bruce Springsteen ‐ Born to run 34 Fleetwood Mac ‐ Tango in the night 35 Prince ‐ Sign O'the times 36 Lou Reed ‐ Transformer 37 Simple Minds ‐ Once upon a time 38 U2 ‐ Achtung baby 39 Doors ‐ Doors 40 Clouseau ‐ Oker 41 Bruce Springsteen ‐ The River 42 Queen ‐ News of the world 43 Sting ‐ Nothing like the sun 44 Guns N Roses ‐ Appetite for destruction 45 David Bowie ‐ Heroes 46 Eurythmics ‐ Sweet dreams 47 Oasis ‐ What's the story morning glory 48 Dire Straits ‐ Love over gold 49 Stevie Wonder ‐ Songs in the key of life 50 Roxy Music ‐ Avalon 51 Lionel Richie ‐ Can't Slow Down 52 Supertramp ‐ Breakfast in America 53 Talking Heads ‐ Stop making sense (live) 54 Amy Winehouse ‐ Back to black 55 John Lennon ‐ Imagine 56 Whitney Houston ‐ Whitney 57 Elton John ‐ Goodbye Yellow Brick Road 58 Bon Jovi ‐ Slippery when wet 59 Neil Young ‐ Harvest 60 R.E.M.
    [Show full text]
  • Songs by Jim Steinman
    Total Eclipse of the Charts SONGS BY JIM STEINMAN For over 35 years, legendary songwriter/producer Jim Steinman (aka Little Richard Wagner) has been rocking our world like no other... BAT OUT OF HELL The classic Meat Loaf album is currently in the all-time top 3 of global record sales at 43 million and counting, and the only album in the top 20 written entirely by ONE individual. In addition to the epic title track, other great songs include Two Out Of Three ‘Aint Bad, Paradise By The Dashboard Light and Heaven Can Wait. BAT OUT OF HELL 2 The album that reunited Jim & Meat after 16 years apart, this 11 song sequel was once again written entirely by ONE individual. The huge lead single I’d Do Anything For Love (But I Won’t Do That) earned a Grammy for ‘best rock vocal’ and helped launch the album to global sales exceeding 14 million. Other mini-operas on the album include Rock & Roll Dreams Come Through, Life Is A Lemon & I Want My Money Back and the epic that ‘out epics’ everything else… …Objects In The Rear View Mirror May Appear Closer Than They Are. TOTAL ECLIPSE OF THE HEART Taken from the Steinman produced album Faster Than The Speed Of Night, this 1983 worldwide smash for Bonnie Tyler hit # 1 in the US & UK, with global sales now exceeding 9 million. The power ballad to end all power ballads…’turnaround bright eyes’! IT’S ALL COMING BACK TO ME NOW Written whilst under the influence ofWuthering Heights, this US # 1 for Celine Dion earned Jim the BMI ‘song of the year’ award in 1998.
    [Show full text]
  • Polytram Changes Budget Import Mart Booms Scorpions Cover by FRED GOODMAN Ment of Odds and Ends from Around That His Firm Does Have American the World
    SM 14011 MMNIFIN BBO 9GREENLYMONT00 MARP6 NEWSPAPER MONTY GREENLY C3 10 37410 ELM UC Y LONG PEACH CA 90807 A B°Ilboard Publication The Internatior Newsweekly Of Music & Home Entertainment May 5, 1984 $3 (U.S.) AFTER RACK COMPLAINT DESPITE LABELS' EFFORTS Polytram Changes Budget Import Mart Booms Scorpions Cover By FRED GOODMAN ment of odds and ends from around that his firm does have American the world. customers, but that it counsels NEW YORK complaint from That attitude is apparently not -A NEW YORK -The U.S. market caution. a key rack account has led Mercury/ shared by Handleman or some of its "It's a large market," says one for imported budget, cutout and "We want to keep the U.S. compa- PolyGram to market two different customers. Mario DeFilippo, vice wholesaler who carries both domestic overstock albums is thriving. Despite nies happy," he says. "The customer covers of the Scorpions' top 10 album president of purchasing for the rack- and imported budget titles. "It basi- the efforts of the Recording Industry doesn't want to go out on a limb. But "Love At First Sting." . jobber, says that objections to album cally exists because the American Assn. of America, CBS Records and there is a whole midprice range we According to the label, Wal -Mart, cover art as well as lyrics are "a com- market is loaded with crap and the other American manufacturers to sti- supply that is not available in Ameri- a 670 -store discount chain racked by mon complaint from our customers." dual stuff is cheaper.
    [Show full text]
  • Rock 'N' Roll Dreams Come Through: R.I.P. Jim Steinman
    Rock ‘n’ Roll Dreams Come Through: R.I.P. Jim Steinman As a kid I hated music like Meat Loaf. I thought it was pompous and overdone, and I never liked having to hear that stupid “Paradise By The Dashboard Light” song at every wedding. It wasn’t till years later that I was reading a review of a Meat Loaf concert that it all clicked and I realized the genius of Meat Loaf and of his songwriter, Jim Steinman. If the record label told him couldn’t have seven choruses in a song, Steinman put nine choruses in. He curb-stomped the idea of the 3-minute, radio-friendly pop song. In that respect, Steinman was more punk than Fugazi. Everything he did had great lyrics and dramatic storylines, and went against what pop songs are supposed to be. In addition to working with the Loaf, Steinman wrote the hits “Total Eclipse of The Heart” for Bonnie Tyler and “It’s All Coming Back To Me Now” for Celine Dion. Sadly, Steinman recently passed away in Connecticut. But through his music, he will live forever. The Living Pins — Freaky Little Monster Children EP It’s normal for bands to take a little time after their debut and second release. In the case of Austin psych-rockers The Living Pins, that little time translated into a quarter of a century. Was it worth the wait? I just hope nobody was holding their breath. Freaky Little Monster Children is like a basket of shiny psych-rock nuggets. “Jaguar” is fueled by a guitar riff reminiscent of “Honkey Tonk Women” with a chorus that sounds like ’80s UK alternative rock on acid.
    [Show full text]
  • Contact: Terms Governing Use and Reproduction
    Citation for this collection: MSS 179 Robert H. Richards, Jr., Delaware oral history collection, Special Collections, University of Delaware Library, Newark, Delaware Contact: Special Collections, University of Delaware Library 181 South College Avenue Newark, DE 19717-5267 302.831.2229 / 302.831.1046 (fax) http://www.lib.udel.edu/ud/spec [email protected] Terms governing use and reproduction: Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required from the copyright holder. Please contact Special Collections, University of Delaware Library, for questions. [email protected] A note about transcriptions: Of the original 252 audio-recordings in this collection, 212 of these tapes were transcribed around the time of the original recordings (between 1966 and 1978). In 2012, Cabbage Tree Solutions was contracted to create transcriptions for the remaining tapes. Corrections to and clarifications for all transcriptions are welcome, especially for names and places. Please contact Special Collections, University of Delaware Library, for questions. [email protected] Interview with Mr. William Frank, journalist, in Wilmington, Delaware, February 8, 1974, by steven Schoenherr. Q O.K. you put out an edition in what ••• A 1971, a centennial edition of the Every Evening. See the papers .•• well, what I could do is to give you stuff off the top of my head ... I have a little bit there. And when you go back into the various diverse papers that came 6nd went and came and went, that's something that you would have to get out of the history ..• it's all there--maybe not in the detail that you want.
    [Show full text]